3 - 9 NOVEMBER, 2025
DUNYASHA ALTHAUS
DIRECTOR OF MARY
Film Synopsis: When a young live-in nurse takes the elderly Peter into her care, she attempts to distract him from believing that his dead wife Mary is still alive, until she begins to feel her presence, too.
What inspires your work?
Life. Life is so wonderful both on its best and worst days, and I find myself being inspired to write about even the small and fleeting things every day. My work is also a pursuit of truth. Not the truth, but the truest ways I might be able to to express this incredible feeling of being alive.
What films did you watch as a child?
I grew up without a TV, so I was exposed to very few films. Some of the few films I remember are Litte House on the Prairie (1974), Anne of Green Gables (1985) The Spirit of the Beehive (1973) and The Life of Pi (2012).
What directors have influenced your work?
I try not to be too influenced by other people’s work, but an undeniable inspiration of mine is Terrence Malick.
What is one film that you think everyone should watch? And why?
A Hidden Life by Terrence Malick. There is no better example of how conscience can be cinematic.
If you could adapt any book/play/piece of literature, which would it be?
Lapvona by Ottessa Moshfegh would be wild.
Who are your favourite writers? (this could be from any format - script, books, poetry etc.)
I love Clarissa Pinkola Estés, Ocean Vuong, Arundhati Roy, Ottessa Moshfegh, and John Gardner.
Name a film score that makes you feel something.
Green Light by Craig Armstrong
Who is an actor that you would love to work with?
I do like Cate Blanchett.
What was the last film you watched? (and would you recommend it?)
One Battle After Another. I definitely recommend it.
What is next for you?
I am writing a second book and currently enduring the soul-draining process of trying to finance my first feature in Switzerland.
Tell us about your film Mary? What`s it all about?
Mary isn’t a ghost story. It’s just a story about an old man loving his wife beyond the bounds of his earthly life. For a lot of people with dementia, ghosts are as real and tangible as we are, and that reality deserves respect. I wanted Mary to be seen in the end, to symbolise Elisa’s mind opening to the possibility of a presence that exceeds her vision. If the audience, even for a moment, finds themselves wondering whether Mary might be real, then the film has done what it set out to do.
Can you tell us about the creative process in making your film? What drew you to this project?
The process of making this film was incredibly rewarding. I got to work with people whom I loved and who understood and cared for my vision. The process really was one endless string of day-long meetings, recces and test shoots. It also involved a lot of quiet reflection by myself and circling the question in my head: What do I want to say and how am I saying it?
It also was a daunting process. Although I had directed a short film before, this one was different and on a bigger scale with a bigger crew. I realised that there really only are big decisions when making a film, and that with every decision comes so much responsibility.
How long does a film like Mary take to make?
Mary took us 8 months to make.
What challenges did you encounter?
The biggest challenge was making this film with 400 £. I also had to overcome a lot of self-doubt.
Do you have a favourite moment when filming/creating Mary?
Filming the last scene was the most special. It was raining, but the entire crew really felt the film becoming whole when we shot the two actors sitting on the bench together.
How was working with your cast and crew? Do you have any stand out moments?
The cast and crew were incredible. The actors spent so much time exploring their characters with me, and we were even able to meet in advance in London, which was wonderful. When we made our next film — our graduation project — every single member of the crew wanted to come back and work with us again.
Can you tell us more about the sound/production/costume design of your film?
Our costume designers and production designers were incredible. They put so much thought into symbolism, testing different fabrics and objects with the cinematographer to see how they interacted with the light. They managed to be truly creative while still keeping the mundane, homey feel we were aiming for. So many tiny design details went into the story and visuals, and they thought of every single one.
Apart from the diegetic sound, the biggest challenge for our sound designer was finding Mary’s song. We went through countless options before Alex, our soundie, finally unearthed the perfect tune.
Where did you get the inspiration when creating Mary?
I worked in palliative care during my gap year and during film school, and still work in dementia care part-time because it has come to mean so much to me. The work can be difficult, but it has honestly been the most rewarding and transfmorative thing I’ve ever done. I wish every young person would try it, even if just for a summer.
What have you learnt from making Mary? Would you do anything differently next time?
I’ve gained confidence as a creative and learned to prioritise human experience over high concept in my writing. As Clarissa Estés so beautifully says: “The truths we tell will make the song.”